Tremfya “Million Miles” Campaign — work created at Preymaker. All imagery and materials are the property of Preymaker and are shown for portfolio purposes only.
Overview
Million Miles is a global TREMFYA campaign built around an escapist, emotional premise: soaring through a series of stylized postcards that evoke places like Italy, Thailand, Iceland, and the Nordic coast. Each card represents the sense of being “a million miles away” from psoriatic arthritis. The film blends elevated CG environments with warm, transportive storytelling.
My Role
As an AI Visual Designer, I developed key graphic elements and textures that shaped the realism and narrative detail of the postcard world.
Working alongside our CG and comp teams, I created:
Texture sheets
Custom stickers
Signage & posters
Postcard graphics
UI elements
Environment-enhancing micro-details
My work served two functions:
1. Grounding the CG environments with tactile realism.
2. Peppering the world with Easter eggs and personality enriched the emotional tone.
Credits; Director – Adam Berg, Production Company – Smuggler, Agency – Area 23
Creative Approach
One of my favorite contributions was the Pelican case sticker collection, where I had full freedom to design travel-inspired graphics and subtle nods to the story. It became a hero detail the agency loved because it brought a sense of history and “lived-in energy” to the scene.
In the same shot, I also designed the laptop UI, which added a layer of functional realism and world continuity. Within the UI itself are hidden easter eggs, from my producers name as the photographer to important dates as file information.
Across all assets, my focus was balancing artificial vs. applied texture — deciding when to lean into AI-generated detail versus traditional graphic layering. That judgment call defined a lot of the project’s visual authenticity.
Tools & Pipeline
I worked across:
Adobe Illustrator and Photoshop
Runway for asset generation
Preymaker’s internal AI and CG pipeline
- ChatGPT for copy concepts and microtext
This project taught me how to prep files for our CG texture workflow, anticipate errors, and design with seamless integration in mind.
Challenges & Problem-Solving
The biggest technical challenge was navigating the line between artificial detail and applied surface texture. Since the environments were stylized yet grounded, every graphic needed the right level of wear, gloss, grain, or travel-worn imperfection.
I learned how to predict how graphics would behave once mapped, lit, and animated in CG — which massively streamlined review cycles.
Collaboration
Under the guidance of my Senior Designer Johnny Bursnell and AD Rob Pietre, I learned the rhythm of fast, iterative creative work in a high-pressure pipeline. I also got exposure to handling shifting client feedback with efficiency and calm, which made me a more resilient, adaptable designer.
Client Reaction
The clients — from the CD to the AD to the agency — loved the layers of realism and storytelling that came from these small details. Many easter eggs and microtextures weren’t initially requested, but became defining visual touches in the final film.
Final Thought
“The small, easily overlooked details I designed helped bring unexpected character and realism to the Million Miles world, making the environments feel authentically lived-in and emotionally transportive.”
